“Alfred Hitchcock 4K Restoration Double Bill” November 4, 2023
Hosted by Jesse Hawthorne Ficks, this very special Alfred Hitchcock double bill showcases James Stewart in two of the greatest films the director ever made. Both movies have been restored and will be presented in 4K as well as an extremely special “twisty” surprise immediately following VERTiGO.
Admission also includes a very special raffle of Alfred Hitchcock prizes, a live pre-show performance by David Hegarty on the Castro organ and attendees will receive limited edition, handmade screen prints designed by Sofía Caldas (first come, first served!)
4:00pm – Doors / Walk In Reel
5:00pm – 5:15pm intro w/ Jesse
5:15pm – 7:08pm – REAR WiNDOW (1954) 1hr 53 min
7:08pm – 7:25pm – break w/ David Hegarty on organ
7:25pm – 7:40pm intro w/ Jesse
7:40pm – 9:49pm VERTiGO (1958) 2hr 9 min
9:49pm – 9:57pm – Special surprise!
9:57pm – 10:00pm – Closing remarks w/ Jesse
Rear Window 5:00 pm
Released in 1954, Rated PG, 112 minutes long
Directed by Alfred Hitchcock Written by John Michael Hayes Cinematography by Robert Burks Containing James Stewart, Grace Kelly, Thelma Ritter, Raymond Burr
Professional photographer L.B. ‘Jeff’ Jeffries breaks his leg while getting an action shot at an auto race. Confined to his New York apartment, he spends his time looking out of the rear window observing the neighbors. When he begins to suspect that a man across the courtyard may have murdered his wife, Jeff enlists the help of his high society fashion-consultant girlfriend and his visiting nurse to investigate.
4K Restored DCP courtesy of Universal
Vertigo 7:30 pm
Released in 1958, Rated PG, 128 minutes long
Directed by Alfred Hitchcock Written by Alec Coppel, Samuel Taylor Cinematography by Robert Burks Containing James Stewart, Kim Novak, Barbara Bel Geddes
An ex-police officer who suffers from an intense fear of heights is hired to prevent an old friend’s wife from committing suicide, but all is not as it seems. Hitchcock’s haunting, compelling masterpiece is uniquely revelatory about the director’s own predilections and hang-ups and is widely considered to be one of his masterworks.
